A foundation of despair

From “A Free Man’s Worship” (1903) by Bertrand Russell:

That Man is the product of causes which had no prevision of the end they were achieving; that his origin, his growth, his hopes and fears, his loves and his beliefs, are but the outcome of accidental collocations of atoms; that no fire, no heroism, no intensity of thought and feeling, can preserve an individual life beyond the grave; that all the labours of the ages, all the devotion, all the inspiration, all the noonday brightness of human genius, are destined to extinction in the vast death of the solar system, and that the whole temple of Man’s achievement must inevitably be buried beneath the débris of a universe in ruins—all these things, if not quite beyond dispute, are yet so nearly certain, that no philosophy which rejects them can hope to stand. Only within the scaffolding of these truths, only on the firm foundation of unyielding despair, can the soul’s habitation henceforth be safely built.

Green Lanterns Volume 1: Rage Planet

Green Lanterns Volume 1: Rage Planet

I have to imagine the creative team at DC sitting in a boardroom pitching ideas for the new arch-enemy of Green Lantern and the Green Lantern Corps. I guess they knew he was basically going to look like Thanos, but what was his name going to be? Then someone blurted out “Atrocitus!” and there were wide smiles all around. Atrocitus! That’s gold.

Atrocitus is the leader of the Red Lanterns, who are sort of like the dark side of the Force in the Star Wars universe, running on rage instead of willpower. And, like Thanos, The Big A actually has an argument to make about why being the heavies is important: without them there would be no balance of justice in the universe and everything would just be chaos. To that end he has decided to plant a “rage seed” at the centre of the Earth that will turn into some apocalyptic rage beast when it germinates. Or something like that. As part of the same “Red Dawn” operation he’s also going to infect humanity with a “rage virus” that turns people into violent zombies. If that sounds like the rage virus in 28 Days Later, well, I guess that’s where they got it from.

Opposing Atrocitus are Simon Baz and Jessica Cruz, Earth’s two newest Green Lanterns. They’re newbies and they’ve got to learn to work together as a team because they’re forced to share the same lantern supply source. So taking on Atrocitus and the Red Lanterns is kind of a big first challenge, especially as the Justice League aren’t taking any calls.

I wish I could say I liked this more. The action art is good, and Atrocitus and his conflicted but sexy sidekick Bleez (spandex garters!?) make good villains. But I wish more had been made of the rage magma that they vomit out (another nod to 28 Days Later). If that’s the superpower of the Red Lanterns it doesn’t hold up well against the “constructs” of the Greens.

What really drags things down though is the amount of interior monologue, which is colour-coded but still hard to sort out and isn’t very interesting anyway. Jessica’s character arc is the main thing to follow, as she learns to overcome her fears and focus her willpower. This is something she takes a long time to do, and when she finally does get the hang of it it’s almost automatic.

I guess it’s OK. I liked Green Lantern when I was a kid, but this is part of the DC Universe Rebirth project and it’s a long way from what I grew up with. I thought the characters – heroes and villains – were more interesting and well-rounded than usual, but something about it left me feeling kind of cold. Maybe it was the whole “fighting to save the universe” thing getting played out again. It felt very MCU, complete with the Hell Tower functioning as a sort of portal that dragged in the usual army of mooks to do battle with. For a launch of some new heroes maybe they should have started out taking some baby steps.

Graphicalex

The Emperor’s New Clothes

The Emperor’s New Clothes

Folktales keep hanging around because the sorts of lessons they teach are timeless and universal. That said, some gain more relevance than others over the years, and I’ve always thought The Emperor’s New Clothes one of the most pertinent to our own time.

Do we still believe in the wisdom of crowds? I think it’s hard to in the present day and age. What this parable warns us against is the danger of mass delusion, or “pluralistic ignorance.” It’s a top-down phenomenon, first infecting the court, which turns out to be the easiest part. Courtiers, aware of how slippery the greasy pole of advancement is, will do anything to get along. As for the Emperor himself, the whole idea works out pretty well for him. It’s a sort of shit test for the courtiers: if they’ll go along with this, they’re likely to go along with anything.

The tailors, meanwhile, are our influencers. We know they must be good because they’re making so much money. And the scam finally takes on a life of its own. Because even when exposed (literally) the Emperor has to keep pretending. The show must go on. The kid can say what he wants; if there’s enough money at stake the illusion will continue to be propped up.

Virginia Lee Burton’s illustrations go back to 1949 but they stand up well in terms of how she conceived the story, emphasizing mirror effects. Because we don’t see ourselves as we appear in a mirror, in an accurate reflection, but only as others see us. Reality is a carnival or funhouse. And even if we know that everything about it is a lie, we’ll all still play along.

Graphicalex

DNF files: The Last Week

The Last Week: What the Gospels Really Teach About Jesus’s Final Days in Jerusalem

By Marcus J. Borg and Dominic Crossan

Page I bailed on: 126

Verdict: This is a good book. I just didn’t feel I was learning much from it. And stuff I didn’t know anything about, like Mark’s narrative “framing technique” or how exceptional Caiaphas was at remaining high priest for so long, weren’t the kinds of things I’m likely to remember long. But you never know.

I think you’re in good hands with Borg and Crossan. What they’ve written here is a commentary on the events of Holy Week, using the account from Mark (because it was the earliest Gospel and the one that sticks most closely to a timeline that can be easily followed) as a spine. It’s basically the historical-critical method, though they address the meaning and significance of what happened from a Christian perspective, not as historians.

I had some issues with the amount of time spent repeating the passages they subjected to close reading, and while I usually like it when points of translation are gone into they seem to have been excessively nit-picking here. I guess it’s sort of interesting that the frequency of the Greek word hodos is concealed in English translations where it’s variously rendered as “way,” “road,” or “path,” but I didn’t find it all that important. And I couldn’t understand the point being made about the Greek lutron being misleadingly translated as ransom, and how it didn’t mean vicarious atonement, because it isn’t used in the Greek translation of the Hebrew Bible in that way, but rather participation in Jesus. My understanding is that the idea of vicarious atonement in the Christian sense was something new, so why would it be used earlier in that sense? I got the feeling a particular theological interpretation was what was being argued here more than an objective reading.

If you’ve read other books by Crossan (I’m not as familiar with Borg) you’ll know that his Jesus is the prophet against empire, very much a political figure, and that’s the route taken again here. It starts with contrasts drawn in the opening pages between “God’s passion for distributive justice” and Rome’s for “punitive justice,” and then two entries into Jerusalem on Palm Sunday: Jesus on a donkey and Pontius Pilate as part of an imperial procession.

Borg and Crossan aren’t wrong in emphasizing this. The fact is that the region was a hotbed of political turmoil at the time, and Jesus was executed for what were political reasons. I did wonder though about how much they were leaning on the idea of Jesus standing against the “domination systems” of the time. This is a pretty broad idea, and while Jesus did oppose the contemporary political and religious power elites, I don’t know if he was against political and religious power structures as such. Few rebels are, and I think this is probably reading a lot back into him. But then I’m a cynical sort of guy.

A good book that I’d even recommend for a lot of people, and I feel a little bad about including it in the DNF files. But I didn’t finish it, so.

The DNF files

TCF: El Jefe

El Jefe: The Stalking of Chapo Guzmán
By Alan Feuer

The crime:

For nearly thirty years Joaquín Archivaldo Guzmán Loera, commonly referred to by his nickname El Chapo (“shorty” or “stocky”), was one of the biggest drug traffickers in the world, being the leader of Mexico’s notorious Sinaloa cartel. After a long and colourful history of evading and escaping the law he was finally tracked down and apprehended by Mexican and American authorities in 2016, extradited to the U.S., and sentenced to life in prison.

The book:

I didn’t like this one much. It’s very limited in scope, telling the story of the pursuit of El Chapo from the perspective of American FBI and DEA agents. So don’t expect to find out much about the operation of Guzmán’s empire, or what was happening in Mexico. Also, Alan Feuer’s reporting deals primarily with the various ways agents tried to locate and track the boss through his communications network, which is something that either wasn’t explained all that well or was just over my head since I couldn’t follow any of the details. At no time did I fully understand how the monitoring of Guzmán’s messaging system actually worked.

As for the gangster lifestyle, for all of his money, influence, celebrity, and power it doesn’t seem like Guzmán enjoyed himself much. He was, of course, always on the run, and lived a fair amount of the time in very primitive conditions, even in caves. Then there was the constant threat of violence from other gangs and having to respond to ever-changing market conditions, or the more mundane work of a CEO. It all sounds like a grind to me, not to mention dangerous.

But the Hollywood image of a drug lord – think of Pacino’s Scarface in his trashy Florida mansion – looms large in the popular imagination. And I guess there’s some truth to the tales of excess. Pablo Escobar had his hacienda, stocked with hippos and other exotic creatures. And El Chapo had a gold-plated AK-47 and lots of mistresses. But mostly the life just seems, like Guzmán himself, nasty, brutish, and short.

Even so, Guzmán seems to have been aware of the Hollywood mythology, and sought to promote it. One of the more interesting sub-plots here involves the fact that he kept a screenwriter on staff and was planning on making a movie about himself (with the rather unoriginal working title of El Padrino, Spanish for The Godfather). One of the raids to grab him was even thrown for a loop when it was discovered that Sean Penn had scheduled a visit at the same time. Penn was interested in interviewing Guzmán for Rolling Stone while Guzmán and his team were hoping the Hollywood actor would want to get involved in their film project.

This conflict between Guzmán’s notoriety, or celebrity status and his need to stay anonymous and hidden is one of the more interesting parts of his story. As Feuer puts it, “The ‘paradox of visibility’ was paradoxical only in the sense that Guzmán never wanted to be invisible; he wanted to be seen.” But I don’t think this is quite right. Guzmán did want to be invisible some of the time. He just also wanted to be famous. This is typical of most celebrities: they want to be in complete control of their brand, enjoying all the perks of fame without any of the downsides. But that’s not the way it works. At least not yet.

This isn’t a book about Guzmán though, so we don’t get any deeper into his psychology on this matter. Instead, the main reflection I was left with had to do with Guzmán as folk hero. Not so much for being a provincial big shot, the hometown boy who made good and gave a boost to the local economy while showing up the federal government as corrupt and incompetent fools, as for his fighting against the ineluctable web of digital surveillance. The story here is of an incredibly complex and long-running police investigation that was basically driven by tech people and all their wonderful toys and software. Guzmán was alert to the dangers, and seems to have done a good job protecting himself, but if you want to communicate in the digital age you’re going to be vulnerable to hackers. As terrible a person as Guzmán was, this does make you almost want to root for his escape. Because if he couldn’t free himself from the web, who can?

Noted in passing:

As Guzmán expanded his drug trade into Canada we’re told by Feuer that “It hadn’t gone unnoticed that a kilo of cocaine sold for almost ten thousand dollars more in Montreal and Toronto than it did in Chicago or Los Angeles.” This surprised me a bit. Cocaine costs that much more in Canada? So I did some Internet sleuthing and found that prices for cocaine (this is mostly from the Global Drug Surveys that can be accessed online) vary widely not just between countries but different regions within countries. Overall though, it seems that Canada, which consumes a lot of cocaine, enjoys (if that’s the right word) low cocaine prices. The main rule seems to be that the further the distance from the source (Colombia, say), the higher the price. So cocaine costs a lot in Australia and Dubai. I don’t think Canada is a very difficult country to smuggle drugs into, but I’m guessing most of the cocaine we get comes through the U.S. first so crossing two international borders drives up the price. Still, the amount of mark-up that Feuer cites sounds high.

“Whenever his safety and schedule permitted it,” Feuer writes, El Chapo “loved slipping off to havens like Los Cabos where he could eat well, drink among his friends and have his pick of the local professional talent.”

Is this use of “talent” widely understood? My own understanding is that what’s being referred to are escorts or prostitutes, but that’s mainly an inference from the word’s use in the porn industry, where “talent” refers to performers, with everybody else being business or tech support. I didn’t think “talent” meaning prostitutes was that common an expression, capable of being tossed off here in such a casual way. But I might just be out of the loop.

Takeaways:

Certain human beings have the power to hold a gaze. Without even asking for it, they command our attention, the most valuable commodity we have. . . . Guzmán had been right about one thing: the world had been watching him, much like it had always watched him, millions of people, across the planet, for nearly thirty years. The important questions – Why had it been watching? Did he deserve it? And what was the point of all that concentration? – never seemed to have occurred to him. Perhaps he took it for granted. Or perhaps he understood what we did not: that no matter what he did and no matter what he said – no matter what happened – all of us were going to look at him.

True Crime Files

The King in Yellow

The King in Yellow

The King in Yellow is a book by Robert W. Chambers first published in 1895 that is nearly as mysterious as the sinister work it takes its name from. It’s a collection of short stories, the first four of which are linked and have some connection to a fictional play, The King in Yellow, which has the effect of driving anyone who reads it crazy. In this graphic adaptation by I. N. J. Culbard it’s these first four stories – “The Repairer of Reputations,” “The Mask,” “The Yellow Sign,” and “In the Court of the Dragon” – that are represented.

I say it’s a mysterious book because despite being in the public domain and freely available on the Internet I don’t think it’s that widely read except by people interested in its influence on H. P. Lovecraft. But even Lovecraft had reservations about how good it was. As a side note of some interest, on the copyright page to this book we’re told that it’s an “Original story by H. P. Lovecraft / Adapted and Illustrated by I. N. J. Culbard.” That gives you some idea of how much cultural cachet Chambers has lost to his successor.

I don’t think much of Chambers’s book. To be honest, I never made it all the way through. So I was happy to come across this comic crib, which struck me as playing fair with the source material while having a vision of its own that nicely complements Chambers while making a fair job of stitching together the different stories. I liked the presentation of the pale, ghoulish figures who represent the King’s servants in our dimension, and could get behind the decision to switch from a first-person narrative. It’s a good comic, but at the end of it all I didn’t feel I had any greater understanding of what was going on and I still can’t say I think the original is a work of the first rank.

Graphicalex

Dupin: The Purloined Letter

The last of the three canonical Dupin tales is one where the great detective, or proto-detective, solves the case even before his “old acquaintance” Monsieur G – , Prefect of the Parisian police, can tell him about it. “Perhaps it is the very simplicity of the thing which puts you at fault,” he teases. “Perhaps the mystery is a little too plain . . . A little too self-evident.” Monsieur G – thinks this is all very funny, but Dupin has taken the measure of the man and knows exactly how a criminal will go about bamboozling him, and indeed fooling the entire Paris police department. The letter thief is, after all, a mathematician and a poet. Like the cunning schoolboy who wins all his classmates’ marbles, it will take someone gifted with both powers of observation and the ability to take “admeasurement of the astuteness of his opponent” to outfox Minister D –.

In my notes on “The Murders in the Rue Morgue” I listed a bunch of the now familiar detective-story tropes that Poe introduced. In “The Purloined Letter” he adds another in the face-off between the genius detective and the criminal mastermind. It seems Dupin and Minister D – have a history, and I like to think that if Poe had gone on to write more Dupin stories they would have become a bit like Holmes and Moriarty. But this was the end of the line. Poe’s favourite tale of ratiocination would go on to become popular with the reading public as well as a text for much trendy but worthless French criticism to puzzle over, but Dupin didn’t have the kind of franchise afterlife of Holmes or Poirot. What later writers picked up Dupin as they would those other detectives? None that I’m aware of. And that’s another mystery.

Dupin index

TCF: Tangled Vines

Tangled Vines: Power, Privilege, and the Murdaugh Family Murders
By John Glatt

The crime:

Scion of a long line of powerful South Carolina lawyers, Alex Murdaugh killed his wife and youngest son in June 2021, just as he was about to be exposed for having stolen millions of dollars from clients in order to pay for his drug habit.

The book:

For reasons not worth getting into I had CNN on a lot in the background when this case exploded with wall-to-wall coverage. I didn’t pay much attention to it then, figuring a book was soon on its way, from which I would learn more. That book didn’t take long to arrive, though I can’t say I was keenly anticipating it. From what I could gather, it didn’t seem like a particularly remarkable crime. Why had it caught the public’s interest?

I think mainly because it fit a popular archetype: “a roller-coaster of murder plots, financial crimes, and drug addiction, straight out of a Southern Gothic novel.” The story of a powerful family’s decline into criminality, madness, and degeneracy may have had people thinking of Faulkner or even Poe, but I don’t think either of those authors is ever mentioned. Instead, Glatt goes further back and likens the fall of the house of Murdaugh to Greek tragedy. In fact, I think he makes that connection four times (and once, just for good measure, to Shakespeare). Is this a fair comparison?

The Murdaughs were big fish in the small pond of South Carolina’s Lowcountry, so I guess they qualify as being of tragic stature. Of Alex Murdaugh Glatt writes that “His greed and hubris were limitless,” which has an Aristotelian ring to it. But by the time of the main events recounted here the family was guttering out in a big way, to the point where it’s hard to see how Alex and his son Paul were functioning at all given the amounts of booze and drugs they were consuming. Alex was also more of a Shakespearean villain than a hero with a tragic flaw. In a final judgment that made me sit up and take notice Glatt concludes that “Whether or not Alex is a sociopath is not for me to say, but in all the true crime books I have written, I have never come across anyone as dark and totally devoid of conscience as he appears to be.”

That’s a bold claim – I believe this is Glatt’s twenty-fifth book – but it has some merit. The curious thing I found was that despite shooting his wife in the back with an AR-15 and then standing over her body and “firing again and again,” and then blasting a shotgun at his son’s head and chest at point-blank range, the murders seem not to have been crimes of passion. I didn’t even see where Murdaugh was particularly angry at either of them. They had just become inconveniences. That’s cold.

Was it the drugs Murdaugh was taking? There seems to have been little evidence that his mental or moral functioning was greatly impaired. To be sure he was an addict, but I don’t see where that changed his personality much. Where did all his rage come from? Or was it rage?

Nor was what was happening on the financial front easy to understand. This is usually a place where true crime books shine. My basic question was just why Murdaugh was in such financial distress, or, as described by Glatt, “drowning in debt.” He was presumably well remunerated as a partner in the large law firm his great-grandfather founded back in 1910. Then, by the nearest accounting we get here, he stole some $10 million from clients over a roughly ten-year period. Was it all going for drugs? I guess it’s possible. He claimed at the end to be spending up to $60,000 a week on pills, taking more than two thousand milligrams of oxycodone a day. That adds up, but I don’t think he could have been medicating that heavily for a decade. Glatt mentions how he was also involved in some kind of drug dealing operation, but if so it apparently wasn’t making him rich or else he was too busy getting high off his own supply.

While he and his wife liked to live large (as an exercise in family branding she posted pics of their opulent lifestyle on Facebook “to burnish the Murdaugh image”) it just seems to me that with that kind of money in such a relative backwater he should have had more to show for it. I mean, his home property was a whopping 1,772 acres, complete with hunting lodge and dog kennels, but was put up for sale after his arrest for only $3.9 million. I know neighbourhoods near where I live where a decent-size detached home on a suburban lot will put you back close to that. My point being that with a million bucks you could have been a very rich man in the Lowcountry, and Murdaugh had a lot more than a million.

Overall I thought this was just a decent, quick look at the case, thankfully without too many of the howler typos that often mar such timely productions. I guess the end of Chapter 39, which tells us that “Prosecutors and the defense are now busily preparing for Alex’s upcoming murder trial,” was originally conceived as being the end of the book, as we do get an account of the trial immediately after this. And while there weren’t many typos, I did get a smile out of Murdaugh’s lawyers arguing that he should be “afforded a release on his own reconnaissance.” That’s great.

An interesting aside: In one of Glatt’s previous books – Love Her to Death – an estranged wife looking for a divorce is killed when her husband talks her into meeting him in person, something that she wanted to avoid. That’s what happens here as well, as Maggie, who was also considering a divorce, didn’t want to go see Alex alone but felt obliged. There’s a warning for you, ladies! If you’re nervous about meeting your soon-to-be ex on your own, listen to your gut.

The bigger point that’s illustrated though is that of the corrupting effect of privilege. At bottom, privilege means a freedom from consequences, and a little of it can let you get away with a lot. The Murdaughs had a lot of it, and the suspicion shared by many is that they may have even got away with murder. The deaths of Stephen Smith, Murdaugh housekeeper Gloria Satterfield, and Mallory Beach have all been connected to the family, and Glatt provides enough background on each case for readers to make up their own mind as to what, if any, culpability they may have had.

There is, however, always a point where you can’t take things any further. In the case of privilege that point is a long, long way down, but just as the Peter principle has it that you rise to the level of your incompetence, so the privilege principle holds that the only thing that can really erase one’s privilege is the total destruction of oneself or others. Insulated by his wealth and social position, Murdaugh got to live in a bubble that atrophied any sense he had of personal responsibility or morality. Power just isn’t good for people: not for the people who don’t have it and suffer at its hands, and not for the people who do have it and who are debased by it. But still everybody wants some.

Noted in passing:

When he was in prison Murdaugh made a lot of calls, to family members mainly, talking about financial matters and encouraging his remaining son to return to law school. These calls were recorded, as I suppose is usual. What I did not think was usual was that the recordings of these calls were considered to be in the public domain. Indeed, I was quite surprised to find out that reporters filed a Freedom of Information request for the recordings of these calls and it was approved. They were subsequently released.

Murdaugh’s lawyers then “filed a federal lawsuit in US District Court in South Carolina to prevent any further calls going public, citing the federal wiretapping statute. It stated that although inmates were made aware that every call would be monitored and recorded, they were not told it would go public.”

This sounds like a valid complaint. While an inmate has no expectation of privacy when it comes to prison calls, I wouldn’t have thought the calls were public information. But after a pause allowing for a judicial ruling, a higher court agreed to release more calls. In his notes, Glatt refers to these “highly revealing jailhouse phone calls to his family” as providing “a real insight into his true character.” Which I’m sure they did, but I’m still not sure it’s right. Unless the material in the call has some bearing on the case, or can be interpreted as relating to the planning of some further crime, it seems to me that the press has no business publishing what are private conversations, no matter how psychologically revealing they may be.

Takeaways:

On the subject of family fortunes there’s an old saying that the first generation makes the money, the second conserves it, and the third loses it. “Shirtsleeves to shirtsleeves in three generations,” is the adage. And like many an old bit of folk wisdom, there seems to be some truth to it. According to a couple of reports I found online from the 2010s, some 70% of wealthy families lose their wealth by the second generation, and 90% by the third.

In other words, family decline is real. This is something borne out in the history of most dynasties, business and political. Even without their violent end the Murdaughs were locked on a familiar downward spiral, aided and abetted by Alex and Maggie’s staggering incompetence as parents. Paul’s death was tragic, but it’s hard from the evidence to see how he was going to turn things around.

The founder or patriarch of a family dynasty is usually at least a figure possessed of some qualities, though he may be an immoral scoundrel. The second generation are just inheritors. And by the time you get to the third generation – or, as in the case of the Murdaughs, the fourth and the fifth – you’re really scraping the bottom of the barrel with spoiled degenerates who were rotten with privilege, destructive of wealth, and not much good for anything.

True Crime Files

BRZRKR: Volume Two

BRZRKR: Volume Two

Wow, this was a big disappointment. I mentioned at the end of my notes on BRZRKR: Volume One that it set the hook well and left me wanting more, but I can’t even give the issues collected here credit for giving readers more of the same. It’s just less of the same, if that makes sense.

The main thing I was left wanting after the first volume was a supervillain who matched up against Unute’s awesome strength and unkillability. Well, that doesn’t happen. In fact, there is no villain at all in this part of the story, unless you count Caldwell, the shady (and very familiar) government scientist who is researching into the secret of Unute’s power so that he can clone an army of Berserkers. Or Brzrkrs. This is all what’s known as . . . wait for it . . . Project X.

That’s such a tired storyline, and there’s nothing interesting done with it here. Meanwhile, there’s nothing added to Unute’s backstory either aside from the suggestion that his powers didn’t come from a sky god but some alien intelligence. It’s all left pretty murky. Murkier even than it was in the first volume, which is part of what I mean when I say this is all less of the same.

There’s also less bloody action, and indeed the only action at all is in the first section. But it’s not as gory and over-the-top and the scene where Unute (or “B,” as he is more often referred to) is drawn and quartered, only to be inevitably reconstituted later, just struck me as silly. I don’t even want to go on. There’s no story here at all but only four issues of a comic spinning its wheels and getting nowhere – which is the usual middle stretch of any trilogy – with art that wasn’t selling me on the boring highlights. I guess you need a double-page spread for the explosion we’ve been counting down to from the opening frame, but . . . it’s just an explosion in the desert. We’re left with a “to be continued” but I don’t know if I’m in for any more as the whole thing seems to have run into a ditch.

Graphicalex

The Great American Novels

The Atlantic magazine has just come out with a list of The Great American Novels of the past 100 years. It’s pretty much a random selection, with picks made by a variety of contributors with different points of view. In the case of most literary awards who wins tells you more about the jury than it does about the winner, and in the case of an exercise like this I think the list tells you more about the times we live in and what the editors think it is we should value than it does about the books. But since the whole purpose of lists like this is to provoke discussion, I’ll say a bit more. Here are some drive-by thoughts.

136 books were chosen. I’m not sure if there was any reason for that number, but it makes things seem even more arbitrary. I mean, if they’d insisted on only 100 books making the list then they could always say that some titles only narrowly missed out appearing. But here they don’t have that excuse. There could have been 200 Great American Novels published in the last century, but I guess there weren’t.

I think the only guideline is that the book had to be first published in the U.S. Does that make a book American? My eyebrows jumped when I saw Watchmen by Alan Moore and Dave Gibbons included. Tom Nichols explains: “How did a graphic novel by a pair of Brits end up on a list of great American books? Because it tells a fundamentally American story, one that’s rooted in this country’s experience of the Cold War, and built from elements—superheroes and comic books—pioneered and perfected in the United States. (It was first published here, too.)” Humph.

Who’s in? A lot of twenty-first century writers I’ve never heard of. But that makes sense because I’m old. I’ve read Grace Metalious’s Peyton Place and I don’t think many people born after say 1980 have.

Black women are very well represented. With three books I think Toni Morrison had the most titles on the list. I think that’s maybe two too many. Octavia Butler has two. There’s a good amount of genre work and even pulp included, but Margaret Mitchell’s Gone with the Wind isn’t here (per Wikipedia: “As of 2014, a Harris poll found it to be the second favorite book of American readers, just behind the Bible.”). There’s nothing by Norman Mailer. I’m not outraged by that, but it’s a reflection of those “times we live in” I mentioned earlier.

I’d argue with a lot of the selections from individual authors. Couples is the only novel by Updike. I don’t think that was his best work. Was Do Androids Dream of Electric Sheep? the right choice to make for Philip K. Dick, or does it just get a pass because of Blade Runner? Stephen King makes the list with The Stand, a book I’ve never been able to finish. I’d have gone with Pet Sematary or perhaps It. If I had to pick two (or five) books by Philip Roth, neither Portnoy’s Complaint nor Sabbath’s Theater would be one of them. I’d definitely take White Noise ahead of Underworld for the sole Don DeLillo, though I appreciated picking The Crying of Lot 49 over Gravity’s Rainbow from Pynchon. Gravity’s Rainbow is overrated. Lot 49 is a better book.

But overall it struck me as a nice effort. I liked quirky selections like Katherine Dunn’s Geek Love and Mark Z. Danielewski’s House of Leaves. As a list of recommendations it’s worth checking out. But as always you should feel free to disagree.